Charli xcx says it first: it is a Joachim Trier summer. And if you want to have a Joachim Trier summer, where better to go than Oslo? Not just the location, but the main subject of Trier’s film trilogy.
Øya Festival, in many ways, embodies the best sides of the city. Tucked close to the centre, it contrasts lush greenery with an urban feel. It bottles the capital’s spirit with a hedonistic twist. Overpriced pints and ageing hipsters meet cascades of fans in pink cowboy hats, ready to stan their pop faves.
There’s a notable shift in fan culture this year. Øya crowds are usually tough to impress, but now, fans lead the way — especially on the opening days, as Chappell Roan and Charli xcx reign supreme. Coordinated outfits flood the grounds: pink, OTT clown makeup and tiaras for Chappell; brat green, kinky sunglasses and Arial Narrow for Charli.
Both artists deliver undeniable highlights. Their sets are stacked with hits, and the energy is electric. Two-thirds into Charli’s set, an audience member wonders aloud: “Does she even have any more hits left?” Somehow, she keeps them coming. By the time she closes with the Icona Pop classic ‘I Love It’, it’s clear—as Charli herself puts it—that ‘Brat’ “is a forever thing”. Earlier that day, she even found time to introduce a film screening for Joachim Trier.
But the pop girls aren’t the only ones pulling crowds. Elusive Swedes Yung Lean and Bladee gather hoodie-clad fans in merch from every corner of their cult catalogue. They open with ‘I Don’t Like People’, and the anti-social anthem instantly sends the vibes sky-high. Despite their laid-back energy, Lean and Bladee school the crowd in control, running a tight, euphoric show.
Wet Leg dazzle, too. Even on a smaller stage, they charm with cheeky banter and rolling guitar hooks. Their new album ‘Moisturize’ lands well live, helped by an actual burst of rain. Not that it scares anyone off.
Ahead of Øya, several activist groups call for a boycott due to the ownership’s connections and investments with Israel. As activists shout outside the gates, a louder protest happens on stage. From the first act to the last, the call for a “free Palestine” echoes across performances.
It’s especially charged on Friday, when famously uncompromising pro-Palestinian group Kneecap take the stage. From the jump, their message is clear: they’re here for politics and for the craic. The switches are so rapid they risk whiplash, but they still manage to criticise the Norwegian oil fund’s ties to Israel, praise Øya for platforming protest, and flip off the festival’s KKR-linked owners. All while battling a self-proclaimed hangover. It’s chaos. It’s class.
Fontaines D.C. return to Øya with a bang, packing the Sirkus tent wall to wall. Grian Chatten remains a man of few words, but his magnetism is enough to guide the crowd through a charged, powerful set. Of the few words he does say, “Free Palestine” are two of them.
Gaza isn’t the only human disaster addressed. This year marks 80 years since Hiroshima and Nagasaki. In response, ‘The Bomb’ – a musical score featuring Emilie Nicolas and a 16-piece orchestra — premieres. It’s a gutting plea for nuclear disarmament, juxtaposing lush orchestration with harrowing footage of nuclear testing and aftermath. Sometimes art doesn’t soothe; it confronts.
Saturday looks set to belong to Norwegian stars like Anna of the North, Klikk9 and girl in red, but it’s Mk.gee who delivers the day’s knockout performance. His introverted, backlit set may not be for everyone, but it exceeds even high expectations. With his distinct guitar tone booming through the tent, each chord lands like a punch to the gut.
girl in red closes the festival in style. With handpicked guests and undeniable charisma, she sends the weekend off in a blaze of pyro, mosh pits and a final, resounding call: “Free Palestine”.
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